4,928 research outputs found

    The Spatial Implications of Creative Collaboration Spaces

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    Architecturally influenced, specialized spaces for storytelling disciplines will create a place of collective learning that promotes social interaction and creative cross pollination. Multifunctional spaces that use architecture to target the social dimension may become a vehicle for testing this contention. The vehicle would be a ‘storytelling incubator space’ that will specialize in film/animation/comics and other storytelling medium, thus resulting in a multi-use space that’s purpose is to create a place of collective learning. Using architecture as a motivator, the space would have highly specific workstations with spatial elements that would directly influence workflow and collaboration between students/people

    Storrytelling and Its Mediums: The Spatial Implications of Creative Collaboration Spaces

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    For this specific thesis we will be focusing our area of study of ‘storytelling’ on Film/Cinema, Animation and Comics. The three disciplines require highly creative people who are required to be multi-talented, as well as collaborate highly with one another. This coerced collaboration is one key point of study for this thesis

    Investigating User Experiences Through Animation-based Sketching

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    Progressive surface modeling scheme from unorganised curves

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    This paper presents a novel surface modelling scheme to construct a freeform surface progressively from unorganised curves representing the boundary and interior characteristic curves. The approach can construct a base surface model from four ordinary or composite boundary curves and support incremental surface updating from interior characteristic curves, some of which may not be on the final surface. The base surface is first constructed as a regular Coons surface and upon receiving an interior curve sketch, it is then updated. With this progressive modelling scheme, a final surface with multiple sub-surfaces can be obtained from a set of unorganised curves and transferred to commercial surface modelling software for detailed modification. The approach has been tested with examples based on 3D motion sketches; it is capable of dealing with unorganised design curves for surface modelling in conceptual design. Its limitations have been discussed

    Using Stop Motion Animation to Sketch in Architecture: A practical approach

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    Widely acknowledged as an archetypal design activity, sketching is typically carried out using little more than pen and paper. Today’s designed artifacts however, are often given qualities that are hard to capture with traditional means of sketching. While pen and paper sketching catches the character of a building, it may not equally well capture how that building changes with the seasons, how people pass through it, how the light moves in between its rooms from sunrise to dawn, and how its façade subtly decays over centuries. Yet, it is often exactly these dynamic and interactive aspects that are emphasised in contemporary design work. So is there a way for designers to be able to sketch also these dynamic processes? Over several years and in different design disciplines, we have been exploring the potential of stop motion animation (SMA) to serve this purpose. SMA is a basic form of animation typically applied to make physical objects appear to be alive. The animator moves objects in small increments between individually photographed frames. When the photographs are combined and played back in continuous sequence, the illusion of movement is created. Although SMA has a long history in filmmaking, the animation technique has received scarce attention in most design fields including product design, architecture, and interaction design. This paper brings SMA into the area of sketching in architecture by reporting on the planning, conduct, result, and evaluation of a workshop course carried out with a group of 50 students at Umeå School of Architecture, Umeå University, Sweden

    Space-time sketching of character animation

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    International audienceWe present a space-time abstraction for the sketch-based design of character animation. It allows animators to draft a full coordinated motion using a single stroke called the space-time curve (STC). From the STC we compute a dynamic line of action (DLOA) that drives the motion of a 3D character through projective constraints. Our dynamic models for the line's motion are entirely geometric, require no pre-existing data, and allow full artistic control. The resulting DLOA can be refined by over-sketching strokes along the space-time curve, or by composing another DLOA on top leading to control over complex motions with few strokes. Additionally , the resulting dynamic line of action can be applied to arbitrary body parts or characters. To match a 3D character to the 2D line over time, we introduce a robust matching algorithm based on closed-form solutions, yielding a tight match while allowing squash and stretch of the character's skeleton. Our experiments show that space-time sketching has the potential of bringing animation design within the reach of beginners while saving time for skilled artists

    Investigating facial animation production through artistic inquiry

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    Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry
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